商業策展公司每年舉辦的藝文展覽數量不斷增加，然而受限於人力與資金，展覽評量尚未發展成熟，然而展覽做為一種藝術的呈現方式，評量有助於策展團體了解觀眾對於展覽的評價、展覽成效以及在市場上尋找自身利基，建立獨特的品牌形象。商業策展公司評量方式以參觀人數以及發放意見調查表為主，然而目前市面上觀眾意見調查問卷的評量面向標準不一，無法完整評量一個展覽的成效，且忽略觀眾在展覽中的體驗評量。因此，本研究以Lauterborn 4C四項要素以及Schmitt策略體驗模組（Strategic Experiential Modules, SEMs）理論，發展出一個結合觀眾的展覽認知與展覽體驗的展覽總結式量表。本研究以時藝多媒體舉辦的《米羅特展》以及寬宏藝術舉辦的《失戀博物館》為研究案例，回收問卷490份，有效問卷回收475份，並依照Devellis量表分析步驟，包括題項刪減（item purification）、建構效度分析（construct validity analysis）與信度分析（reliability analysis），建構展覽評量量表，最終發展五大評量層面，包括消費者需求與欲望、物超所值、雙向溝通、感官與社群關聯與行動力以及相對應的九大評量面向和評量子面向。 / In Taiwan, Curatorial companies hold more and more art exhibitions every year. Owing to the lack of human and financial resources, exhibition evaluation hasn’t developed maturely enough. However, exhibition is one of the ways of presenting art and evaluation would help curatorial team know how audiences evaluate the exhibition, what the exhibition’s effects are, and what the company’s brand image is in the market. Nowadays, curatorial companies use the number of visitors and evaluation questionnaires as the way of exhibition evaluation. Nevertheless, the evaluation questionnaires cannot assess the whole parts of exhibition’s effects and ignore the assessment of what the audiences experience in the exhibition. Therefore, this study uses Lauterborn’s 4C elements and Schmitt’s strategic experiential modules to develop the scale that combines audience’s cognition and experience in the exhibition. As for cases, the study uses Joan Miro Exhibition Women, Birds, Stars, held by Mediashpere and Museum of broken relationship, held by Kuang Hong Arts. And follow Devellis’s scale development steps, including item purification, construct validity analysis and reliability analysis to construct summative exhibition scale. Finally, the scale develops five parts, including consumer needs and wants, cost, communication, sense and community and action and the related nine layers and sub-layers.